Reviews from Brett Milano and Michael Allen Zell — Jazz Fest Day 5: Thursday, May 1, 2025

Santana
There was some doubt that Carlos Santana would make the gig on Thursday as he was hospitalized for a couple days last week, reportedly with COVID. So, it was especially good to see him on the Fair Grounds (though ironically there was a health-related cancellation by the day’s other Latin rock icon, Alejandro Escovedo). Santana seemed in good shape — he had a seat onstage but didn’t stay seated throughout, and he addressed the audience only to give his familiar mini-sermon on positivity. His guitar work was as vital as ever, particularly during an extended solo on the floaty second half of “Incident at Neshabur.” (Santana called Ravi Coltrane to the stage for this tune, but the saxophonist failed to materialize). Santana tends to frontload his set with hits so he can stretch out in the second half: if you were 20 minutes late you missed “Soul Sacrifice,” “Black Magic Woman,” “Evil Ways” and “Oye Como Va.” For deep-cut fans there was “Hope You’re Feeling Better,” a fine rocker from the Abraxas album that I don’t recall ever hearing played live before.

Carlos Santata at Jazz Fest 2023. Photo by Kim Welch

The Santana band has been in especially strong shape since it added drummer Cindy Blackman (now Santana), who’s knocked me out since I saw her in the short-lived Spectrum Road with Vernon Reid and Jack Bruce. She’s hands down the best drummer the band’s had in its 50-year existence, with astounding energy and groove. And really: How many drummers can play at continuous full throttle for a good 90 minutes, and then take their big solo in the encore?

Tribute to George Wein
The centennial tribute to George Wein saluted the Jazz Fest founder in the most appropriate way possible, with a jam session that recalled the ones he used to produce at Newport. Dirty Dozen member Gregory Davis (who introduced the set but didn’t perform) took the job of assembling a pickup band to back up trumpeter Randy Brecker, who’d played many a Newport gig in the past. “I go back a long way with this band, all the way to yesterday,” Brecker joked onstage. They stuck mainly with Wein’s personal favorite songs, including a couple of standards (“I Thought About You” and “Caravan”), and a few from Brecker’s catalogue. One of the latter, “There’s a Mingus Amonkus,” was his take on how it might have sounded if those two bop giants had ever collaborated; it featured strong solos from standup bassist Amina Scott and trombonist Stephen Walker. Now 79, Brecker has lost none of the dexterity you’ll likely remember from his fusion albums with his late brother Michael. He did introduce one new tune, a lighthearted blues that he considers his “dumbest” composition. So, he dedicated it to the current President and got a loud cheer when he announced the title: “The Dipshit.”

Loose Cattle
Loose Cattle had two especially resonant songs during its Fais Do Do set: the first (“Further On”) was about living under autocracy; the second was about chicken. Which sums up this band as one that has something to say but has a good time saying it. Ditto the rocker “Not Over Yet,” which splits the difference between real-life detail and what-the-hell celebration (As Kimberly Kaye put it in her introduction, “There are songs about being in New Orleans and songs about living in New Orleans, and those are not the same thing”). Kaye and musical partner Michael Cerveris both had strong moments as lead vocalist—her in particular on Lucinda Williams’ “Crescent City” and him on “Before We Begin,” a roll call of martyrs to be honored—but the band is becoming more about the way their voices intertwine. And they were helped at this gig by an expanded lineup including C.R. Gruver from the New Orleans Suspects on keys and Jay Gonzalez from the Drive-By Truckers on guitar.

La Santa Cecelia
You know how it is: You go around thinking you’ve heard everything, and then you hear “Strawberry Fields Forever” as a cumbia. That was one of the highlights of La Santa Cecelia’s set at Fais Do Do (they also played later at the Cultural Heritage stage). But despite that song choice, and despite their past collaborations with the likes of Elvis Costello and Los Lobos, La Santa Cecelia isn’t a rock band; they find more than enough to explore in Mexican music and its offshoots—for one thing, they have a guitarist who’s solid on rhythm but never solos. The other highlight of their set was a trio of acoustic ranchers driven by accordion. All of it was a vehicle for the voice of Marisol Hernandez, known to her fans as La Marisoul, as powerful and charismatic as they come.—Brett Milano

Clesi’s The Crazy Clesi photo by Michael Allen Zell

Zena Moses
May Day is known for marking the beginning of summer, so, of course, Zena Moses was right on time performing “Feels Like Summer” by Childish Gambino at the Congo Square Stage. Her top band, including trombonist Jeremy Phipps, also helped set the tone for the spirit of Jazz Fest and New Orleans throughout their set. Meanwhile, I had a treat to eat. This year, Clesi’s upped their game with the Crazy Clesi, adding fried alligator to crawfish rice and etouffee.

Gladney
Today marked the day for Gladney’s debut Jazz Fest as a bandleader. He showed the WWOZ Jazz Tent crowd why he’s a triple threat with top-notch vocals, tambourine and saxophone. He and his young lions’ band, including Shea Pierre (piano), Max Moran (standup bass), and Alfred Jordan (drums) performed two Alvin Batiste songs in a lovingly beautiful way. The mashup of Professor Longhair’s “Her Mind Is Gone” with Chief Adjuah’s “West of the West” thrilled with guitar John Maestas rocking a riff a mile wide.

Corey Henry / Felipe Olmos

Pasatono Orquesta. Photo: Gus Bennett

Two types of tradition were in evidence with Corey Henry repping a funky 504 at the Festival Stage while Oaxaca’s 10-piece Pasatono Orquesta were locked in an old world glory in the Expedia Cultural Exchange Pavilion Stage.

Artist Felipe Olmos brought his gigantic puppets (mojigangas) from Jalisco, Mexico where the tradition dates back to 1885. Olmos said, “I’m not part of an artisan family. When I was 30, I got tired of my job, so I started making these. I discovered I had a knack for it.” Olmos is aware that New Orleans’ Mardi Gras features large paper mâché figures and would love to make something for it one day.

Damon Batiste’s NOSACONN (New Orleans South African Connection). Photo by Michael Allen Zell

Ajun Cajun’s Shrimp Yakisoba and Seaweed and Cucumber Salad photo by Michael Allen Zell

Damon Batiste
Damon Batiste’s NOSACONN (New Orleans South African Connection) All Stars are made for Jazz Fest and vice versa. Featuring David, Jamal, and Ryan Batiste, Chantz Powell, and several others, they jammed on music custom-made for music lovers on a sunny day. Big Chief Shaka Zulu and Naimah even joined in on a song as stilt dancers. Appropriately the Congo Square Stage set got funky to close things out in honor, respect, and meaning of both the late Russell Batiste and the recently passed Paul Batiste.

The heat made a lighter dish necessary, and Ajun Cajun’s trusty Shrimp Yakisoba and Seaweed and Cucumber Salad did the trick.

Morris Day & The Time
Morris Day & The Time are one of the originators of the Uptown Funk sound more recently popularized by Bruno Mars. Before Day even foot on stage, Jellybean Johnson held up his mirror, the frontman checked himself and opened with a scorching “Cool.” Throughout their set with hits like “777-9311,” the band was sharp with style, steps, and more gators on their feet than in all the rest of Jazz Fest. Over a dozen crowd members were invited on stage to dance to favorite “The Bird,” but it was “Jungle Love” that really got everyone hyped, and it was clear that old-school is the best school.—Michael Allen Zell